Cold Water by Gwendoline Riley #ABookADayInMay No.9

Last year everyone seemed to be reading My Phantoms by Gwendoline Riley. I couldn’t decide if it was likely to be my cup of tea or not, but I decided to take a chance on Cold Water (2002) when I stumbled across it in a bookshop in Cheltenham. It’s Riley’s debut novel, published when she was only 23.

It’s about a young woman called Carmel McKisco who works in a run-down bar in Manchester. She has recently broken up from a cheerful man called Tony, and she has vague plans of moving to Cornwall for a fresh start. She and a friend also make a plan to track down a musician they used to obsess about, after his bandmate turns up in the bar.

It’s hard to find much to say about Cold Water, if I’m honest. It meanders through different scenes and people, telling you about some of the locals, or what it’s like to walk the nearby streets. The Guardian review called it ‘a series of well-wrought sketches’, and that’s a good description. They are interesting, well-written vignettes that felt consistently like building up a world in which something could happen… but nothing really does. I think a certain sort of reader will love it. I’ve realised that I don’t need a lot of plot in a novel, but I do need some sort of momentum. And I suppose the absence of momentum is sort of the point of Cold Water, so it didn’t make a huge impression on me.

Here, anyway, is a bit I did like – to give you a sense of her writing:

Margi first started having nights out in Manchester when she was fifteen. At the Hacienda they called her ‘the garage flower’ and would let her in for free. Not unpredictably, she fast acquired a much older boyfriend. Mark Dalton. He was thirty-six. He liked people to see them out together at clubs so everyone would wonder what a pretty young thing like her was doing with him. And Margi liked the idea of this too. She liked him to look old, crumpled and unshaven. They went out together and had drunken, jealous rows. They caused scenes. She started staying at his place in Chorlton most nights, and she says every morning they’d take their caff breakfast, beans on toast in a polystyrene tray and cups of thick tea, into Southern Cemetery, sitting together on the wet grass and talking lofty nonsense. I’m sure it wasn’t every morning, but what the hell. And it was this Mark, so she says, taught her the importance of always making a good entrance and a better exit. “The entrance is important,” he’d say, “but the exit is crucial.” When he finished with her, unceremoniously, she returned to his flat and left an orchid on his doormat, with a note instructing him to think of her while he watched it wither and die. “Well, I was seventeen, I was a romantic…” she shrugs.

Was this a good exit from Margi? Maybe it was. Where was she? My heart thrummed in my stomach all afternoon. I felt uneasy and a little ashamed that I was thinking about it so much. I knocked on the door of her flat that evening on my way into work but there was no reply.

I don’t know how this sort of style and structure compares to My Phantoms or Riley’s other work – but she is good enough a writer here that I would try her again in a different mode.